Lester Leaps In (Remastered) Lester Young

Cover Lester Leaps In (Remastered)

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  • 1Jump Lester Jump: Lester Leaps In03:12
  • 2These Foolish Things (Remind Me of You)03:33
  • 3Three Little Words: 3 Little Words04:30
  • 4Pennies from Heaven02:57
  • 5Polka Dots and Moonbeams03:33
  • 6(Back Home Again In) Indiana: Indiana [Back Home Again in Indiana]03:57
  • 7Jumpin' With Symphony Sid03:20
  • 8D.B. Blues03:00
  • 9A Ghost of a Chance03:42
  • 10Up and Atom04:20
  • 11Blues in G05:39
  • 12Tea for Two: No, No, Nanette: Tea for Two01:32
  • Total Runtime43:15

Info for Lester Leaps In (Remastered)

One of the great originals in the jazz hierarchy, Lester Young was without doubt the most influential tenor saxophonist after Coleman Hawkins. A highly sensitive, graceful player, and an enigmatic personality, Young had a winning sense of time and space and a most engaging gift for improvising on songs rather than chord sequences. He played with great feeling for the lyric of a song with a very special, bittersweet brand of melancholy. There are some jazz exponents whose recorded work is worth preservation and close attention. Lester is one such jazz exponent. 2xHD are proud to bring present this historic recording to the digital high resolution world.

You can’t overestimate Lester Young’s importance on the development of modern jazz. His superb melodic gift and logical phrasing and smooth, flowing lines were the inspiration for most of the jazz musicians regardless of instruments born after 1920. (Lester Young born 1909) As Johnny Griffin said to Eddie “Lockjaw” Davis: There are five tenor saxophonists that have made the styles we all get our inspiration from: Chu Berry, Don Byas, Ben Webster, Coleman Hawkins and Lester Young. All the tracks on this album are from the fifties. Three of the sessions are unissued and on one track Oh! Lady Be Good young Miles Davis is on trumpet. It was recorded on a European tour Lester and Miles did in 1956.

"With his elegant, liquid tenor sax style, Lester Young invented the "cool" years before the term became common coinage, and he has been a huge influence on numerous modern jazz sax players. This generous set features recordings from the 1930s and '40s, some of them in sessions led by Young and some with Count Basie, Billie Holiday and others. This material, drawn from labels like Savoy, Keynote and Commodore, has been available in numerous compilations over the years (including several with the exact same title), and while this collection is hardly singular, it presents the vital early years of Young as well as any." (AMG)

Count Basie, piano
Lester Young, tenor saxophone
Buck Clayton, trumpet
Dicky Wells, trombone
Freddie Green, guitar
Walter Page, double bass
Jo Jones, drums

Digitally remastered

2xHD is a record label which uses its proprietary system to process music masters originally recorded in analog or DSD or other format, to DSD in order to produce a unique listening experience.

The process uses a selection from a pool of high-end audiophile components and connectors. In some cases even using battery power, so as to benefit from the cleanest power source possible. This variable equipment combination custom tailored to each project, creates the most accurate reproduction of the original recording, unveiling informaton previously masked by the use of EQ, transformers, patch bays, extended cable length etc. The selection of components is critical, as many A/D and D/A converters are unable to pierce through these filters that create a ceiling effect to the sound. The 2xHD system preserves the dynamics of the original master and provides an open feeling to the sound.

2xHD was created by producer/studio owner André Perry and audiophile sound engineer René Laflamme, two dedicated music lovers determined to experience only the warmth and depth of the music without hearing the equipment.

Lester Young
(1909-1959) was born in Mississippi near New Orleans in 1909. His father, a musician, taught him and his two brothers to play instruments. They toured in a family band, performing on a regional circuit throughout the Midwest. Young demonstrated a lot of talent and as a boy he could play the violin, trumpet, drums and alto saxophone! But his father was a taskmaster and two often clashed.

In 1927, when he was eighteen, Lester left his family and struck out on his own, playing with several bands throughout the West and Midwest and moving through places like Phoenix, Arizona; Minneapolis, Minnesota, and Oklahoma City before settling for a while in Kansas City. During this time, he decided to concentrate on tenor saxophone as his primary instrument. The tenor sax is larger and plays in a lower register than alto sax. It's also pitched in the key of B flat instead of E flat. Young gained experience listening to and performing with excellent musicians, including bandleaders like Walter Page (who led the territorial band the Blue Devils), Bennie Moten and Fletcher Henderson.

Success as a Musician In 1934 Young joined the band of Count Basie, one of the best swing band leaders of the time and an important musician in the Kansas City jazz scene. This connection led to greater fame and a series of recordings. In 1936, Young recorded his first song with Basie, 'Oh, Lady Be Good'. More hits followed, including 'Honeysuckle Rose' in 1937 and 'Twelfth Street Rag' in 1939.

During the 1930s, Young also performed and recorded with blues singer Billie Holiday. They shared an easy musical chemistry and became close friends. Young and Holiday recorded songs that became classics, such as 'He's Funny That Way' and 'Easy Livin.' He nicknamed her 'Lady Day' and she called him 'The President of Jazz' or just 'The Prez.'

Creating a New Sound Young became known for playing in the higher registers of the tenor sax. His sweet smooth sound resulted in notes that flowed from one to another without harsh or jarring emphasis. Young also had a very creative method of improvisation. He could listen to chords being played around him and come up with a previously unrehearsed and unwritten melody. Unlike many tenor players at the time, who played loud and boisterous with an aggressive edge, Young preferred a softer lyrical style.

Listen to one of his recordings (you can find old videos on YouTube or hear his songs on Pandora). His sound is light and nimble. It floats smoothly above the accompaniment and feels effortless. It's not too loud and it's not aggressive. Young also held his instrument in a different way, high and out to the side rather than straight and close in front of him. In his skill, creativity and style of play, he changed the perception of what the tenor sax could do.

Young also had a personal style all his own, including his always present porkpie hat and double breasted suit. He had his own language and was the original hipster (a person who lives outside the cultural mainstream and is often ahead of their time) before the term was coined. In this context, we mean hipster in its 1940s connotation, which meant indicated a relaxed way of dressing, speaking, and behaving, and might also be referred to as 'hepcat.' Some musicians who played with him even credit him with coining the usage of the word 'cool' as a positive attribute meaning laid back and relaxed. (Source: www.study.com)

Booklet for Lester Leaps In (Remastered)

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